So, you've got a drone, you've got a license, you've booked a gig so what do you need to do now? In this blog, we look at the five most important drone safety considerations you need to have before you think about flying a drone for work. Everyone thinks production location planning is an easy task. You find somewhere perfect and you just send the drone up and go for it, right? Maybe in an ideal world - but this isn’t the case when it comes to flying drones commercially for production. It’s especially true when it comes to selecting a location where a drone can legally fly.

If you are planning to use a drone in your production to get some outstanding shots of the location, or just to add a unique perspective to your footage, here are some crucial things you need to consider before you take to the skies.

Safety first is a good phrase to live by when out on a production. Yes, getting an epic shot or piece of footage is crucial but not if it means sacrificing your drone safety! Let's be clear, drones in the wrong hands are dangerous - but, big BUT right there, drones can be safe and awesome when you have a smart drone operator.

It may seem like a bore or a touch pedantic but an expert drone operator will consider all these things before they set their drone soaring. If you have a drone safety savvy operator you will not only get amazing shots but you won't have to risk your neck for them either.

 

drone photography

Image by LA Media 

You Must Respect the Drone Danielson!

Take the wise words of Mr. Miyagi to heart! A typical misconception about drones is that they can go anywhere, right? True, to an extent, yes they can physically go most places, drones are very versatile and nimble but unless you want to find yourself in hot water with the law, here are key considerations for drone safety every production manager should consider before the day of the shoot. Just because you can fly it doesn't mean you should!

Cowboy drone operators will risk it, but if the CAA is notified you could find yourself under investigation for reckless flying or worse charged by the police for endangering the public. Drones are a serious piece of machinery, just because some can be bought cheaply as toys you shouldn't lower your guard when operating one as they can do damage.

Do you have production control over the required drone flying area?

The law is quite specific about this and covers people, property, and roads. If you have full control of these elements then you should be good to go flying. Make sure that you get a completed risk assessment form from the drone pilot in advance of your flying date. If you do not have full control then you will need a control method statement from the drone company. All drone flights should be operated within areas that are under the control of the production or which have been made safe using the practices suggested in the control methods statement.

 

drone photography of rail bridge: Drone safety tip, ensure you have correct permissions

Image by LA Media 

Buyer Beware: Is it legal and am I liable?

The drone company should advise you regarding the legal requirements of any flying you intend to undertake and investigate the nature of the airspace you are intending to fly. The drone company should make all relevant contact with CAA, NATS, and any air traffic control (military and civilian) that may be operating in the area you intend to fly and keep you informed regarding any issues.

IMPORTANT: One-man operations will often ask for production assistance when implementing control measures in a flying zone. Be aware that compliance with this request can create an insurance liability to the production.

Cleared for landing?

Does your location have safe landing and take-off areas for the drone operators to use? More importantly, is there an area that can be considered an emergency fly away zone should it be required? The drone company will advise you as to the suitability of any areas you might suggest for these purposes.

 

drone photography of Orkney

Image by LA Media 

Best laid plans

Where possible, and affordable, it is advised to take the drone operators out on a location recce with the production Director, DOP, production manager, and health and safety adviser.

Houston, we don’t have a problem!

It is critical when flying the drone that any pilot has ‘Line Of Sight’. They must see the drone clearly at all times when flying, no excuses! So, when considering locations it is important to anticipate any possible obstructions to the pilot's “Line Of Sight’. Obstructions can be as simple as trees, other buildings, a change in the ground levels when flying low and, most commonly, distance from the pilot.

This may seem obvious but it is worth saying, Drones become very small as they fly away from the pilot and even, therefore, become riskier when, and if, the drone disappears into the background they are flying against. Crossing in front of bright sunlight for example will be very challenging for most pilots.

 

drone photography of Edinburgh castle

Image by LA Media

 

Although this may seem a little scary, if you are working with a good and reputable drone operator they will help you through this experience and make it as straightforward as possible. If you keep these 5 key drone safety considerations in mind when picking your location you will avoid some of these easily made mistakes.

Check out the rest of our website to see some of the drone projects we've worked on and if you have any questions e-mail us at louise@lamedia.co.uk or just give us a call on 0131 622 0220.

If you enjoyed this blog don’t forget to follow us on: TwitterFacebook, and Instagram for your daily dose of media & drone chat!

Wishing you happy and safe flying!

 

 

 

 

We never say “don't be a runner” - a good runner on a film location is gold dust and they are a very important and valued member of any production team.

That being said, we meet so many bright young people who tell us they want to be a ‘runner' and with the benefit of our 45 years of experience in the industry, our response to them is why?

If their answer is: “I relish being the lowest paid person on a location”,  “I enjoy doing everything and anything that anybody wants me to do” or “I've studied film and television for four years to be good at getting tea and coffee for other people” then we say “great” and wish them good luck with their chosen career.

 

runner holding cups

 

But if their answer is, and it's the one we mostly hear - “everybody tells me I have to start at the bottom of the ladder and work my way up” that's when we like to take some time with them to challenge the ladder theory. We explain what's involved in being a runner and offer them an alternative mindset to go forward with.

Imagine how you would feel if after four years of hard study your peers tell you: “you have to start all over again” or “start at the bottom of a career ladder and work your way up”. Not very inspirational is it?

However here is a great link to check out if you want to explore the job in real depth: Runner. What we offer you is a quick snapshot of things from an alternative perspective.

Being a runner

This is a really, really hard and challenging job even for the smartest of people and yet it’s rewarded with the smallest amount of pay.

Being a runner means - you need to be a mind reader capable of anticipating everybody's needs and a source of all information answering a million random questions every day. You are often the first up in the morning and usually the last to bed. You have to do everything and anything that others may need you to do from gathering rubbish to delivering messages and you're expected to do it smiling and at the double. Your list of jobs will have no limits and the number of things you will be expected to juggle at the one time is often ridiculous.

You may have been told that by being a runner you will learn by watching others but as you're going to be busy all day, when will you get the time for this learning curve to happen?

 

woman holding phone with camera equipment behind

 

There is no ladder to climb

The ‘career ladder' is the greatest myth in the industry because in film and television getting a job is mostly based on contacts and opportunity. Being in the right place at the right time is half the battle to getting work - the other half is who you know. 

When these two elements come together work opportunities will frequently drop at your doorstep...also a quiet ‘word of mouth’ from a connected person into the right ear will generally go a lot further than any experience you may have.  

 

Ladder with blue sky behind

 

This sounds very cynical but it's true...even within broadcast institutions such as the BBC/ITV/CH4.

Finally, it is worth noting that most jobs will only last for the duration of filming and then you're out looking for another job. So where is the workplace continuity that's required to implement a career ladder path?

Our alternative mindset

Take charge of your own career, make your own jobs, train yourself and do the things you want to do...by simply doing them.

The tech is already there for you. Mobile phones for filming, free editing packages on the internet, YouTube for training, mates for teamwork and social media channels for broadcasting your films to an audience. What more do you need other than an idea for your film.

 

directors chair

 

Make your money to live by stacking shelves in a supermarket if you have to but at the same time be constantly asking yourself what you should be doing in your own time to take charge of your career.

If you start with the mindset of you are already in film and television because you want to be, then you must accept that it’s only you wasting your time and only you are to blame if you're not doing anything.

Don't wait for an opportunity to arrive - GET OUT THERE AND DO IT!

 

You can do it message

Keep an eye open for more blogs to come. Meanwhile, give us a call on 0131 622 0220 to see if we can offer you support in your career.

Check out more of our website and if you have any questions email us at [email protected] and we will get back to you.

 

So, how do you get started on a career in television? Once upon a time, you would have been told "fingers crossed, it's a lucky dip, keep applying and good luck because television work is exclusive and at the very minimum you need to know someone on the inside just to get you an introductory meeting."

The good news is things have changed dramatically and are a lot easier now.

Broadcasters and production companies all have websites and job opportunities are posted online. They tell you how to apply, the qualifications you need and how much you will get paid. All you have to do is fill in the form and wait for response alongside thousands of others.

 

man sits with form in from of him

 

Almost every day LA Media meets bright young people who want a career in television and based on our 45 years of experience in television production we tell them what we think. It's not ‘typical advice’ but it has worked for many. So if you want to find out what we tell them, then this is for you.

Don't put your future in the hands of others

You could always join the ‘work lottery’ by simply applying for jobs and waiting for replies. However, this can be very demoralizing, especially when your excitement is met with silence.

You need to understand that you are in charge of your future and no one else is to blame if you allow your time to slip away.

 

person typing on laptop

 

Never catch yourself doing nothing

1. Use your time pro-actively by checking out what the production companies like the BBC and independents are making.

2. Consider what you watch on television in an analytical way. Work out what you like and don't like and then understand why - this will help you gain a clearer picture of the creative path you should be following.

3. Visit production websites and get to know what they make, what they have made in the past, discover the names of the people that lead these companies, and reach out to them through the website. Ask them for a quick meeting or a short chat. Before you do, make sure you know what you want to talk about. It really helps!

 

women typing on laptop researching a career in television

 

4. Cameras, lenses, audio gear, lighting and editing are all areas you should study up on while you are waiting for meetings to happen. YouTube has info on anything you can think of and you should use it to increase your technical knowledge. Most importantly don't just watch one - watch hundreds and very soon you will learn to ‘talk the talk’.

5. Help yourself by building up a bigger and more informed picture of the industry you want to work in. This knowledge will let others know that you are serious about a career in television and that always goes over well when you are in conversation with people who could give you work.

 

What are you working on?

1. Time to spare - you shouldn't have any! If you do then use it to make your own films. Most mobile phones have a video option and there is also free editing software available online. All you need is an idea to start making your own films. 

 

person filming on iPhone

 

Filming your own ideas is also a great way to simply get better. You will prove to yourself what you already know and at the same time highlight areas you need to find out more about. It also provides a talking point for when you meet others in the industry as most conversations with them will start with the question - so what are you working on?

2. What's your idea? This is the fun part and yet for a lot of people, it's also the most challenging. Whether it’s a good idea or a bad idea is irrelevant, it just has to be an idea that will get you motivated to get up and get out filming.

3. Collaborate with others - it can be very lonely out there, so we would always encourage you to get some friends involved with any project you are doing. Discuss your ideas with them and even use them as your presenters, crew, or actors when required. Get onto your social media outlets and ask other passionate filmmakers to join you on your project. You’ll meet new people and get new perspectives.

4. Publish - let people see what you are making and what you can do. Don’t judge your films to the point where you do nothing with them because in your eyes they are not perfect. Be brave, put them out there on social media channels, and take the feedback. You can decide what comments you listen to and ignore the inevitable trolls that will surface.

 

self shooting on iPhone

 

As ever, if you have any more questions about starting a career in television or would like to learn a bit more about what we do here at LA Media, just get in touch via email at [email protected] or through the contact page on the website.

LA Media has been flying drones for the last seven years. We’ve flown for Netflix shows, like The Crown and The Witcher, feature film productions, high-end commercials and have done lots of work for television broadcasters from all around the world. Check out our drone reels at lamedia.co.uk or visit our YouTube channel to see what we do.

 

large drone and various screens for viewing in remote location

Now we are putting together a new drone set-up for 2021. It's a great and exciting project and our new package is the result of our extensive experience. We believe it will help keep us at the top of the drone tree and that it could also help you to get started.

Details of our new drone setup will appear in the following blog but meanwhile here are some of the things you should consider if you are about to go out on your own.

Buying a drone

Buy the drone you need (not the one you like). Spend a good deal of time considering what you want your drone set-up to do before you spend any money on it.

high end filming drone set-up

Creative filming, survey work, health and safety inspections, area mapping, emergency services… it's your decision. Remember - it will be an expensive disappointment if you buy a drone not fit for your purpose. 

Tell any retailer what you need it for and they should have the expertise to steer you in the right direction. Spend a lot of time looking at reviews of the drones you are considering and listen to what is being said. It costs you nothing but time and it all helps you make the best decision.

Octocopter drone sitting on grass

 

10 Things to consider

1. Camera - what camera does your drone carry? This will determine the quality of the picture you can offer a client and establishes the size and power of the drone you need to be flying. 

2. Interchangeable lens system - does your drone camera offer a choice of lenses? This is about being able to give a variety of choices to your client when it comes to shot options.

3. Flight time - how long can your drone stay in the air? Clients like to fly all the time so you must give consideration to flight durations and establish how many batteries you will need to buy should you want to fly a typical eight-hour day and include them in your drone set-up accordingly.

4. Recharge to recycle - will you need to recharge/recycle flight batteries during a shoot day? If the answer is yes, how will you do it? Adding a portable generator to your drone set-up is a great way of doing this but often requires a second person to monitor and operate it and can also be expensive.

5. Viewing the shot -  how will your client view the shots you are flying? While it can be a simple as looking over your shoulder at your controller device e.g. your phone, you may want to consider other means such as an HDMI cable feed from your controller (if it has one) to a separate client monitor. More spending for you but makes for happier clients.

6. File types and formats - what file types and formats can your drone camera deliver to the client? Often overlooked as a detail until the end of a day's flying it is an issue that can cause you real problems. The data transfer time of your shots should also be built into your flying schedule. You should know what file type is best suited to the client's post-production workflow and will the client bring you a drive to dump things onto or are they expecting you to supply one? You should ask all these questions before the flight day. The more file types and formats your drone can deliver the better for both you and your client.

7. Data Cards - always have plenty of spares as you may need to change them out if they get filled up. It's also good practice that before you perform any risky flight, such as over water, put a new card in. This makes sure that you do not lose any data in the event of a catastrophic incident occurring.

8. Take-off/landing pad - this is a great part of your health and safety protocol as it is easy to see and therefore those around you can avoid it without difficulty. It also gives you a dust-free platform and a safe flat surface when you are on ground that is uneven or overgrown - a most frequent occurrence on shoot days.

9. A Table - this may sound like a flippant tool but from our experience, it is a vital and practical part of a professional presentation. When it comes to how the client views your overall operation a good table provides you with a safe and clean working surface for your gear and it stops you from getting onto your knees and scrambling about in the mud.

10. Spares and parts - these will save your sanity on any shoot. I can guarantee you that things will break, go wrong, or just get lost when you are out flying. If you can afford it, as part of your drone set-up, you should always have a full set of spares and the tools you need to fit them with. Most pilots are now operating with a second, and even a third, back up drone, just in case.

 

Vulcan UAV Drone with remote controllers and camera attached

 

If you have any questions, or just want to learn more about what we do, e-mail us at [email protected] or check out the rest of our website.

Time-lapse is simple to do and the advances in technology such as within mobile phones puts it in reach of most people. It's only when you want to make a professional time-lapse video that things need to be more considered.

So if you are reading this I'll make the assumption that you’ve already looked at Parts 1 and 2 and are now ready to think about where things go from here. To find out more about what we know in regard to the final steps required to make a professional time-lapse video..read on.

Install a unit

There is no ‘one right way’ to do this,  because wherever  you are - every location presents unique challenges. However there are some ways in which to be more safe and more secure...how much is up to you. Things you should consider are:

How and where is your unit mounted? If you are using a  simple tripod mount this still requires your thoughts when it comes to secure and stable.

To secure a tripod  from movement we use weights loaded onto the base of the tripod  legs or we use rope/chain tied tightly from the legs onto secure fixings nearby to secure and immobilize it.

Assess your position for weather impact and take the necessary steps required to minimise weather effect.

Guard rails and hazard tape used around the unit can also help to highlight its existence. This is done in an effort to make sure the tripod mount does not get bumped or moved accidentally.

If you require scaffolding or plan on using a local asset such as a lamppost, find out who is responsible for them and seek their permission to do so.

Apart from permission to use scaffolding or a local asset, you will also need official evidence of ‘safe build certification’.

Public Indemnity insurance is also a good idea and should be considered alongside and just as important as a detailed hazard assessment for the job you are undertaking.

Delivering maintenance

Time-lapse set ups are notoriously very fragile. That's  because you're asking so many electronic parts to work together often under extreme weather conditions and in industrially hostile environments and continuously over long periods of time. It's important therefore that you quickly spot when things go wrong and fix things asap in order to not lose massive chunks of  data.

We have monitored in two ways.

Visiting the unit each day is the first way. This is an ineffective method and is usually attempted only when remote monitoring is not available.  On long running and distant  projects it quickly becomes not viable. We have also done this monthly. However this led to many sleepless and stressful nights between visits. You are always asking yourself Did it stop just after the visit and you're now losing a month of vital data ? Again - still not the most effective way to monitor your time-lapse unit nut we have done it on projects that lasted years.

 

Man on mobile device with laptop and dslr

Remote monitoring is the second way. This is ideal when you operate a time-lapse unit. However it's more involved and requires more effort to make it happen. Use an internet connection software such as VNC (that's what we use) and you will be able to see the output of the camera at any time of the day and from wherever you are located.

We have VNC installed on laptops, main desk computers, mobile phones and lots more, allowing us to check things at least three times a day and then resolve 95% of any issues remotely through the time-lapse software ‘Dragon Frame’ we discussed in Part 2.

Producing product

These are the file/files you will give to the client when the job is done. They  should knock their socks off your client, be better than what was expected and be something you are proud to show others when looking for new business. Here are some things you can do to get there.

Editing

Don’t leave things in your video that are not going to engage your clients and their audience. Take out the time periods where nothing is happening. This includes any nighttime and  all weekends  when nobody is working on the job. They provide no new information to an audience, extend the running time of your video and are often boring for a viewer  to watch.

Grading

As the exposure and weather conditions will have changed constantly over the time of the filming it’s important that you consider reducing the amount of bright/dark flashing these changes impose on your video. It's not easy and is time consuming but results in a  more professional product.

DaVinci resolve grading

Music

This always helps when viewing a time-lapse video. Make sure you are globally cleared for any copyright issues that your music may have and pick a track that the client likes. It should emphasize the atmosphere and energy of the project you have been filming and should not distract your audience while they watch your time-lapse.

Well that's all for Time-lapse just now and we hope this small series has helped you. 

 

time-lapse dslr on tripod

If you’d like to see the time-lapse work we have delivered for others, check out the Time-lapse page of our website. If you have any questions, e-mail us at louise@lamedia.co.uk or give us a call on 0131 622 0220.

 

Well thats it for time-lapse but we hope you will enjoy our next blog... we think it's very exciting - 10 Things you should know for a New Drone Set-Up in 2021.

The equipment and how to build your time-lapse unit

 

While there are many commercial options for ‘off the shelf’ ready made time-lapse boxes - at LA Media we always build our own. We looked at the commercial options available but found them to be pricey, not fit for our purpose and requiring modification to make things work the way we wanted....so we decided it would be easier, quicker, cheaper and more effective to build our own.

Every box will be different so I’m not going into specific construction details here but  I am going to go into the details, assets and considerations that we use so that you can as well.

 

The Box

Adapt for purpose.... Have you got anything lying around that you can reuse? We found an old Peli case that was doing nothing useful and decided that would be the starting point for our box.

Peli case

We cut a hole in the front and fitted a small window of glass for the camera to look through. NB We had to pay a Glazier to cut the glass to the right shape and size - it was our first expense but a tiny one.

Some old bits of timber we found were then repurposed for our interior shelving.

We drilled some access holes into the Peli case. These were for our mains cable, power supply and the 4 aerials extending from our router.

On the back of the Peli case we fitted three brackets (which we had to buy - very cheap). These were to function as our clamps for when we wanted to mount the box unit onto scaffolding.

Finally - we weatherproofed the window and any holes we had made in the Peli case. Winter-spring, rain-shine the box has to be dry on the inside because of the electrical and fragile nature of the equipment that was going to operate inside it for a long time.

 

Time-lapse box with camera installed

This process takes a couple of days to complete as we spend a good deal of time discussing the logistical layout of equipment inside the box - before we started on building the box itself.

 

What goes inside the Box

We strongly advise that you DO NOT re-purpose or adapt any old tech-equipment. Everything you are going to put inside the box should be hooked up, tested and proven to be reliable before you decide to install it into your ‘beautifully’ crafted box.

Camera and lens

Make sure the camera and software of choice integrate to run time-lapse and check you have  appropriate input/output connection to the computer you will need to install.  We use Canon cameras and Mac Mini computers and are connected through HDMI.

The camera is best mounted onto a ball joint and then fixed onto an internal shelf. This ball joint mount allows for fine tuning  adjustments once the camera is in place.

Use your camera's mains power adapter (usually comes with the camera) to ensure that the camera can be connected to the mains power supply that you will run into the box.

Your lens should be appropriate for the field of view you want to see and aligned with the window you've already made in the Peli case.

Computer 

This is where your time-lapse software of choice (we use Dragon Motion) will be installed. It drives the time-lapse, all camera activity and enables your remote connectivity through software such as VNC.

Photos from your time-lapse should be stored on the computer's hard drive (do not use a flash card in the camera - not enough space) and when the computer's memory is nearly full,  you need to perform a data download/transfer to free up more space.

Image of Dragon Frame Software

Router

The router is how you make a G4 connection and it should come with a unique stand alone IP address. It will require a SIM contract like any mobile telephone but is worth the cost as this is how you will connect remotely to your time-lapse.

Multi-point plug board

The power board for the unit (we use a four point, 13 amp, surge protected plug board) will be inside the box and it’s cable will run to the outside through one of the holes you have already drilled.

NB most construction sites operate an electrical distribution of 110V for health and safety reasons so always check the power supply is suitable for  your needs.

health and safety is critical so put a weather protected plug on the outside end of your power cable and make sure that whatever it plugs into is also weather protected. It's a good idea to follow any cable supply back to the source where you will check that the fuse rating it is protected by is appropriate and secure and weather protected.

Final Touches

Clean your box window inside and out and carefully wipe your camera lens

Pack some bubble wrap around all the elements you have placed inside your box. This helps keep things secure and provides some thermal heat for the unit for when things get really cold.

Close and secure the door of the box and then....you are ready to go.

 

The last steps in making a professional time-lapse are: 

1. How to install a unit

2. Delivering the maintenance

3. Produce the final product

 

So keep an eye open for our Part Three in this time-lapse series where we will get into all that..

Man standing in front of time-lapse camera

If you’d like to see the time-lapse work we have delivered for others, check out the rest of the website and if you have any questions, e-mail us at louise@lamedia.co.uk or give us a call on 0131 622 0220.

LA Media has been delivering professional time-lapse video since 2000 and now has 20 years of proven track record with construction, events, festivals, small companies and massive industrial enterprises, delivering for them a range of time-lapse videos that successfully covered days, months and years.

This is the first in a series where we will take you step by step through to finished product. So if you're thinking about time-lapse ….let's find out ‘some’ of what you need to know before you even start shooting.

 

First contact is critical to your success.... it's the moment when you speak to a potential client and you need to convince them you are capable of doing the job while at the same time establishing some key information for yourself.

1. How long will the project last?

2. Where is it located?

3. Lots of other details

If you ask loads of questions you will always have a better chance of understanding what kind of project you are looking at and in turn this will help you determine the best way to approach your time-lapse.

Installation time-lapse

This is a traditional method normally used for projects lasting months - to years. It requires advanced planning, preparation, coordination with others and finally a remote monitoring system to ensure that observation of the unit can be done daily and that maintenance of the unit is immediate.

time-lapse box

 

Manned time-lapse

A much easier option to put into action and is often used for projects measured in days and sometimes even hours. It's a self-contained, short term option that arrives on site with a trained professional and is then removed at the end of the day when the job is done.

time-lapse camera

 

Location?

The location of the time-lapse is likely to be Inner City or Countryside Remote and each brings its benefits but also its challenges. It’s important that you understand how each affects your time-lapse planning and preparation.

Inner City

The best thing about an inner city location is that mains power is often readily available to run the time-lapse unit and the WIFI access required to reach a static IP for remote monitoring is usually there as well.

The principal drawback to an Inner City installation is the security of any time-lapse unit. Theft and vandalism in the city is more likely to occur and nobody wants the implicit costs involved or the loss of client data (the project photos).

Countryside Remote

One key advantage about this type of location is that there is less likelihood of theft or vandalism.

However it is often the case that mains power is not readily available and wifi access can be very poor. This may result in having only battery power to run the time-lapse which also means no remote monitoring.

This is a situation which is quite nerve wracking as seconds after you start running the time-lapse the camera might stop and you only find out that its not been running when you next visit the installation a month later.

Time-lapse photo of water cascades

 

Lots of other details

Things you should ask your client about are:

Point of contact - who is the person on site that will coordinate with you to ensure you are a smooth fit into the overall project?

Health and Safety - When can you complete a health and safety induction so that you can legally operate on the site?

PPE - Will your personnel be required to wear PPE?

Power - Is there access to mains power to run the camera unit. Will it be an uninterruptible source and has it been approved and checked by a professional electrician before use?

Internet Access - Is there access to a Static IP address - required for a reliable connection if you are planning to monitor the unit remotely?

Point of View - what do they want your camera to see and might it become redundant as things develop over time?

Client Monitoring - Do they want to monitor the timelapse on their mobile phones and other devices?

Progress films - Will they want monthly update videos over the total period of the time-lapse?

Client Stills - Do they need high resolution stills for any social media campaign they may be running?

Duration - How long do they want the final ‘end of project’ video to run?

 

 

It might seem like a lot... but the more information you can get prior to starting your time-lapse project -  the better your final product will be. The next step in making a professional time-lapse is the equipment to use and how to build your time-lapse unit.

Keep an eye open for our Part Two in the series where we will get into all that...

Quiet road time-lapse

If you’ve enjoyed what you have read, give us a call on 0131 622 0220 or drop an email to [email protected]. We are always ready to chat through your project.

 

With the iPhone 11 Pro Max, anyone can become a photography superstar. But as great as the camera system on this phone is, I thought...why not try taking it to the next level. 

So ‘Creative shooting...with a few juicy accouterments’  became my mantra and I embarked on a journey to find out how to ‘up my game’.

iPhone 11 Pro Max

The biggest hurdle I faced was knowing where to start - so if you don’t know where to start then let me help you. I was instantly overwhelmed by the number of options to be considered. 

From optics to filters, to stabilizers and so on - there is something for everyone and an option for whatever you need. 

So to save you the leg work and preserve your sanity, I have done the legwork for you and pulled together some of the best add-ons I found. Let’s get into it, shall we?

 

Transform your lens options!

Same lens = same shots = boredom.

Your choice of the lens determines how you will view the world and as a creative you should always be looking to shake things up.

You could try being different from everyone else simply by using a fisheye - it will give you stunning distortions on all your shots.

An anamorphic lens that will make your shots look like those in Star Wars.

A telephoto prime will give you sharp, crystal clear detail on anything you focus on, while a macro will let you capture a close-up of a raindrop on a spider's web.

Any of these lenses will make your shots hugely different from those around you and they are not that expensive to buy.

There are lots of brands and types so whether you're an Instagrammer or a Youtuber - have some fun by transforming your lens collection.

The following M-Series lenses are now part of my own professional gear:

14mm fisheye

58mm telephoto

10mm Macro

1:33 Anamorphic

Each one of these has reshaped what I can do with my iPhone 11 Pro Max and I love it. I recommend that you should check them out.

 

The Transformative Power of Filters

While we all love a sunny day, it’s a challenge when eye-searingly bright sunshine is ruining your images. 

You have to be able to control light if you want to shoot your best. 

You could always move away from the sun... you could change your camera's position and get the sun behind you...or you could just go for delicious ice cream and come back another day, but the better option is -  use a filter.

 

Filters will allow you to take control of bright light situations but it’s important that you understand what a filter does.

They can:

1. reduce the light coming into your camera

2. change your shot's colour when your creative demands it

3. eliminate glare from reflective surfaces like glass and water

Again, I would say there are lots of brands and types out there and with filters quality is important.

For my filters, I went to GOBE – acknowledged specialists in professional quality filters. I bought a 62mm CPL and a 62mm ND 2 – 400.

They were not cheap but are very high quality. I would like to say ‘bring out the sunshine' but I live in Scotland.

Stabilization!

For static shots I've always used a tripod to ensure my iPhone 11 Pro Max was steady while recording...it also allows my hands to be free for more other things - like sweeping away wasps).

However when I’m on the move...either walking, running or riding a bike that's when I want to have smoother shots.

The answer?

‘Stabilization’ - it's how to stop your camera from wobbling around.

The tool that can do this is called a ‘stabilizer’ or ‘gimbal’ and is often quite a small, handheld device into which you sit your phone.

Some simple balancing is required before they work effectively but it's not a very tricky job.

When you have done that you are basically good to go.

The DJI Osmo Mobile 3 - Available from Heliguy for £99 (click the image above to go the Heliguy website)

 

Now you have a stabilizer on your phone the difference will be quite dramatic, transforming your options of how you shoot things.

Apart from the price tag, 6 other things you may want to consider when looking at stabilizers are:

1. Is my phone compatible ?

2. Is it easy to operate?

3. How heavy is it to carry?

4. Are the motors powerful enough for my camera and lens?

5. Do I need to buy counterweights?

6. Operational running time before recharging?

I discovered that with my add-ons rigged onto my iPhone 11 Pro Max that I would need two stabilized setups to cover my options so I went for the ‘DJI Osmo 3’ and the ‘Freely Movi Cinema Robot’.

Check them out... both are truly awesome stabilizers and totally reliable.

The Freefly Movi Cinema Robot - Available for £279 from Heliguy (click the image above to go to the Heliguy website)

 

I went on a great learning curve with all the above and it has taken me time to get the best out of each.

But I'm happy to say I've been using my gear for a while now and I'm delighted with the results I'm getting from working with the iPhone 11 Pro Max.

As a professional filmmaker, I can honestly say that these 3 add-ons have been game-changing and have rekindled and inspired my enthusiasm for shooting with the iPhone 11 Pro max.

I hope they will do the same for you.

Visit our website lamedia.co.uk and if you have any questions or think we got something wrong or simply want to let us know what we missed... e-mail us at [email protected] or give us a call on 0131 622 0220.

Whether or not you agree with Black Friday is not what’s up for discussion here… The fact that you can get some serious price reductions, however, is! Here’s a very quick round-up of the top 5 deals we think are great!!

1. Black Friday Amazon Echo Devices

2nd Gen Echo Show - £169.99 (was £219.99)

Echo Spot - £89.99 (was £139.99)

All-new Echo Dot - £24.99 (was £49.99)

 

Some really serious savings here on all their devices. Go check them out!

 

2. LG (at John Lewis)

Save £2,000 on this insane television. I’ve seen one of these in action and they are incredible. Flexible and thinner than a table mat it really does feel like you have an extra window in your wall.

- LG OLED65W8PLA Signature OLED HDR 4K Ultra HD Smart TV, 65" with Freeview Play/Freesat HD, Picture-On-Wall Design & Dolby Atmos Sound Base Unit, Ultra HD Certified, Black. -

Now - £3,999.00 (was £5,999)

4 grand is a lot to spend on a new TV sure, but with manufacturers starting to release 8K TVs (I know, I know, ridiculous!), some great deals on the ‘older’ 4K top of the pile lot can be found.

Head over to John Lewis for this one.

 

3. Black Friday at Sonos

Some pretty decent savings here if you’re in the market for some new Sonos equipment. They’re obviously aiming at someone who’s putting together a home cinema set up here…

Sonos One - £174 (was £199)

Beam - £349 (was £399)

Sub - £599 (was £699)

 

Check it out here.

 

3. Lakeland KitchenAid Black Friday Deal

For any keen cook who wants to keep the retro good looks and solid reliability of KitchenAid’s Artisan 4.8 Litre Stand Mixer, but not has it dominate the room, this Matte Grey version is ideal. And so is the current price!

KitchenAid Artisan 4.8L Stand Mixer - £299 (was £499)

 

For all the best Lakeland deals click here.

 

4. HTC Vive

For gamers and VR enthusiasts, this HTC Vive deal is up there with the best. Save £100 on this puppy, if you have the computer to run it...

If you don't... see No. 4 below!

HTC Vive - £499 (was £599)

 

Check it out at vive.com.

 

4. Scan Computers

 

If you’re keen on the above HTC Vive but have an aging computer, head over to Scan Computers and take advantage of their huge sale on everything from graphics cards to full desktops and laptops. Some very good savings here!

 

So that's it for this brief round-up. Happy shopping!!

 

 

Visit our website lamedia.co.uk and if you have any questions or simply want to let us know what we missed... e-mail us at louise@lamedia.co.uk or give us a call on 0131 622 0220.